Articles previously published on TeachingPhoto in 2007, 2006, 2005, 2004.
2007
BY MICHELLE SHEPPARD | JANUARY 16, 2007
Michelle Sheppard is the Photography teacher at Algonquin Regional High School in Northborough, Massachusetts. She has supplied us this issue with an amazingly engaging lesson plan for intro to Photo students in the upper high school grades. Her lesson, which she calls the “Photo Olympics,” incorporates ideas on composition, critique, shooting strategy, new angles from which to view the world, and how to photograph a rubber lobster. Read more »
BY NEAL RANTOUL | MAY 1, 2007
For this new column I decided to write about critical issues in the world of teaching digital photography. There are many, of course, so I started asking my students at Northeastern University in Boston what was on their minds. I also talked with my colleagues and to Bruce Hamilton, who's in charge of our technical facilities, about what our program’s needs are now, and what they will be in the near future. Read more »
BY KARL BADEN | JUNE 15, 2007
Collecting photography books is an obsession for many photographers. A lot of us do it. But photographer and Boston College faculty Karl Baden has given his obsession a special spin. You can see it at: www.coveringphotography.com and read about it here.
BY JUDITH BLACK | SEPTEMBER 20, 2007
Lucky is what you might call it. Lucky for me, lucky for Carlos and Neus, lucky for Ramon Rius. Lucky for us all. Luck has long been defined as one thing that photographers cannot do without; we pack it in the camera bag. Read more »
BY DIANE BUSH | SEPTEMBER 20, 2007
For twenty years, I have made a career out of commenting on American culture through observation of television content. The multimedia body of work that has emerged, 500 Channels, can best be defined as cultural or political satire. The name refers to the fact that just 20 years ago, the idea that we might one day have more than 500 television channels was nothing more than a dream. Read more »
2006
BY ALLEN FRAME | FEBRUARY 1, 2006
About once a semester I host an evening called Slide Slam at the School of Visual Arts in New York. In a fast-paced format, six emerging photographers project a selection of their work and take questions from the audience afterwards. Audiences have been packing the two hundred-seat amphitheater for this event because people are eager to get a look at fresh work and the photographers who are creating it. I started this alternat ive venue to give some exposure to a large number of photographers who are unknown or under-recognized. Often I’m more struck by their work than by what I see every month in galleries. Read more »
BY NEAL RANTOUL | MARCH 6, 2006
There is so much going on in the world of digital capture it’s a little hard to know where to begin. I’m just starting at the tip of the iceberg here but the two most important topics are probably Adobe DNG and Apple’s Aperture. Read more »
BY THOMAS GEARTY | MARCH 21, 2006
Imagine that you are the head of an institution dedicated to “contemporary photography,” responsible for making sense of all of the trends and movements currently clamoring for a place under that umbrella. Pretend also that you must make a place for the work of artists in your region while avoiding easy dismissal as just another regional museum. On top of that, imagine that you are also charged with serving students and faculty for one of the largest photography departments around, just down the street from one of the most highly regarded large museums in America. Read more »
BY MAIA DERY | APRIL 20, 2006
When I began teaching photography five years ago I was utterly unprepared for how much I would learn every day on the job. Inspiring and instructing students day in and day out has been among the most gratifying and challenging experiences of my life. In a world where imagery is plentiful and can seem cheap, I am continually searching for new ways to keep busy, harried college students impassioned with seeing, experiencing, and creating through their own eyes rather than just consuming the images (and underlying messages) that surround them on all sides. Read more »
BY TIM GARRETT | AUGUST 10, 2006
The Photobooth is a cultural icon, having survived as a functional part of the American landscape for over 80 years. Quite amazing when you think about it. What other technology has remained unchanged, yet still vibrant, for such a long time? A quick ebay search reveals photobooth photos taken throughout the past eight decades, and they still look great. The photobooth has been the place anyone, despite their economic status, could afford to take high quality photos. It has recorded chance meetings, spontaneous moments, and new love for generations. The booth has also been a fixture in more utilitarian pursuits: the procurement of countless ID and passport photos. Read more »
BY HENRY HORENSTEIN | OCTOBER 24, 2006
Every so often, I’ll run into a former student and he or she will recall something that happened in my class that influenced them years later. I’m always a little surprised at that memory, but then haven’t we all had teachers who reached us in some manner along the way—good or sometimes even bad? Read more »
2005
BY NEAL RANTOUL | APRIL 1, 2005
Most of you probably are teaching some computer-based still imaging, either in your own lab or one you share with another discipline in your department. If you did what we at Northeastern University did, you added digital courses alongside the conventional courses you already teach. Shared labs worked for a while, but in our case teaching our courses using computers that are set up for graphic designers and animators was less than ideal. We were always reconfiguring them for use with Photoshop, and outputting was a nightmare. Read more »
BY SHANNON PERICH, ASSOCIATE CURATOR OF PHOTOGRAPHY | JULY 5, 2005
The Photographic History Collection (PHC) at the Smithsonian's National Museum of American History (NMAH) is the first collection of photography at any museum. There are about 200,000 images representing the work of over 4,000 photographers and 12,000 pieces of equipment and photographic apparatus. The PHC collects images and objects representing the art, science, and technology of photography. As such, the collection is very broad. Read more »
NOVEMBER 1, 2005
A photographer since 1957, Philip Perkis is an accomplished educator, photographer and source of inspiration to his students and peers. This feature is an excerpt from "Teaching Photography: Notes Assembled," a collection of forty years worth of observations and exercises (OB Press, Rochester, 2001). Perkis's "notes" explore both photography and teaching as relevant, mysterious and fascinating endeavors. Written in hopes of encouraging "younger photographers and teachers to take some chances," TeachingPhoto is happy to introduce (or re-introduce) this collection to our readership. At the bottom of this excerpt is a small portfolio of Philip's images. Read more »
INTERVIEW BY SARAH ANDIMAN | DECEMBER 15 , 2005
 |
In 2003, John Movius was the recipient of the New York University/Tisch School of the Arts, Daniel Rosenburg Travel Fellowship. The Tisch School of the Arts’ Department of Photography and Imaging awards the grant annually to one graduating senior to complete and exhibit a project involving travel. Movius used the grant to complete a project called Sight Range: Photographs and Stories by Soldiers of Desert Storm. This collaborative piece explores the way soldiers involved in Desert Storm have used photography as a method of personal documentary. Sight Range provides a venue for these soldiers to tell their stories and exhibit documents of war of a different nature from those seen in the newspaper or on the TV news. The project was first exhibited at Tisch’s Gulf and Western Gallery, and can also be seen on the web at www.regardingwar.org. In the following interview, Movius discusses the inspirations for the project, the way he put it together and his ideas for future work.. Read more »
BY PRADEEP DALAL | DECEMBER 15, 2005
 |
Published almost 15 years ago, Larry Sultan’s groundbreaking project about his parents—“Pictures From Home,” included striking yet intimate portraits of his parents at their suburban home in California, sequenced loosely with snapshots from family albums, color saturated and grainy stills from home movies, and even images from a corporate brochure where his father worked. Into this visual stew he included forthright and riveting commentary from his father and mother, and disarmingly his own reservations about photographing his parents: “What drives me to continue this work is difficult to name. It has more to do with love than sociology, with being a subject in the drama rather than a witness. And in the odd and jumbled process of working everything shifts; the boundaries blur, my distance slips, the arrogance and illusion of immunity falters. I wake up in the middle of the night, stunned and anguished. These are my parents. From that simple fact, everything follows.” Read more »
2004
For nearly 20 years, David Prifti has been using photography to teach teenagers about creativity, self-expression, and critical thinking at Concord-Carlisle High School in Concord, Massachusetts. Along the way, he's built a progression of course offerings that would be the envy of some college art departments. Read more »
In 1972 there was-according to ten photographers in Charlotte, North Carolina-a serious lack of fine-art photographs available for viewing in the Southeast. They shared their frustration and started regularly viewing each other's work while enjoying a few beers. Thus The Light Factory (TLF) was conceived. Read more »
Whitney Museum of American Art, New YorkThe Whitney Museum of American Art began collecting photography in depth in 1991. Eight years later, Sylvia Wolf was invited to become the museum's first curator to focus solely on photography and on expanding the Museum's collection of twentieth century American photographic art. Read more »
BY MARY VIRGINIA SWANSON | WINTER 2004
As I visit photography programs across the country, I am continually amazed at how few of them encourage and support an internship program that allows students to work in professional situations. The job market today is very tough, and students need to prepare for seeking employment; internships will help your students decide which areas of photography they do and do not want to pursue after college. Read more »
BY NEAL RANTOUL | WINTER 2004
First, a little history: the Photography Program at Northeastern University was relatively stable through the late 80s and early 90s. I had worked to update color processing, replace older enlargers, increase the budget allocation, secure lab staffing, and increase lab access, etc. By 1992 computers were beginning to have a presence in the Graphic Design program, and I made a proposal to my dean to attend a workshop at the Center for Imaging in Camden, Maine. Read more »
BY RUSSELL HART | WINTER 2004
New products for photographers seem to be coming out every day and the recent Photo Plus Expo in New York showed them all. Most are digital and hybrid products, but a surprising number are film-based. Here are several of the most interesting in three categories: 35mm SLRs, lenses, and color films. Read more »
BY THOMAS GEARTY | WINTER 2004
Keith Carter may be acclaimed for his university teaching and fine-art photography, but he got his start as a jack-of-all-trades photographer in his small Texas hometown. Read more »
BY THOMAS GEARTY | WINTER 2004
Seattle's Rebecca Cummins isn't afraid to follow her interests, whether they lead her across the globe, back through time, or over the boundaries between disciplines. Read more »
WINTER 2004
As with many foundation programs, the first year at the Rochester Institute of Technology is a tossed salad of photography topics. RIT's Elaine O'Neil devised this downloadable assignment to teach several fundamental concepts of traditional techniques and digital technology in one lesson. Read more »
BY THOMAS GEARTY | WINTER 2004
Feeling frustrated in your efforts to get the work out there? Mary Virginia Swanson, a leading voice in marketing fine-art photography, offers some basic advice on how to put your portfolio in front of the curators and editors who can move your career forward. Read more »
BY JOHN REUTER | WINTER 2004
John Reuter, director of Polaroid's 20 x 24 Studio in New York, has spent 30 years exploiting the random quirks of instant materials. Now he offers a simple step-by-step procedure that exploits chance transformations and image combinations using Photoshop Layer Styles Blending. Read more »
BY THOMAS GEARTY | WINTER 2004
Photography critic A. D. Coleman has established the Photography Criticism Cyber Archive, an online collection of writings on photography for scholars, researchers, educators, and students. Read more »
American PHOTO technology editor Russell Hart introduces us to some of the latest photo offerings, from traditional to digital. Read more »
|
